Sound Recording Cataloging in

RDAMay 17, 2011

Peter H. Lisius

Music and Media Catalog Librarian

Kent State University

plisius@kent.edu

(330) 672-6316

Scope: What Will Be Covered

Basic differences between AACR2 and

RDA

Sound recording-specific issues in

cataloging under RDA

MARC records cataloged under AACR2

◦ Compared with…

Same MARC records cataloged under

RDA

Full RDA examples included at the end

Resources

Online resources

◦ RDA Toolkit: http://access.rdatoolkit.org/

◦ Music Library Association (MLA) 2011 Annual

Meeting—RDA Preconference (all handouts from

Wednesday, February 9, 2011):

http://mla2011.musiclibraryassoc.org/files

Print source:

Weber, Mary Beth and Fay Angela Austin. Describing

Electronic, Digital, and Other Media Using AACR2 and RDA.

New York: Neal Schumann Publishers, c2011.

AACR2 vs. RDA

AACR2

In two parts

◦ Description (Part I)

◦ Headings, references,

u.t.’s (Part II)

Format by format

(e.g., Ch. 6 devoted

to sound recordings)

RDA

Four basic parts

◦ Recording attributes

of… (Sections 1-4)

◦ Recording primary

relationships… (5)

◦ Recording

relationships to… (6-

7)

◦ Recording

relationships

between… (8-10)

Core RDA Elements

Core elements based on FRBR/FRAD (RDA 0.6)

Attributes

◦ Section 1: Manifestation/Item (Ch. 1-4; elements described in1.3)

◦ Section 2: Work/Expression (5-7; 5.3)

◦ Section 3: Person, Family, Corporate Body (8-11; 8.3)

Primary relationships

◦ Section 5: Between works, expression, manifestations and items (17.3)

Core RDA Elements (ctd.)

Relationships to…

◦ Section 6: Persons, Families, Corporate Bodies

(18.3)

Relationships between… (not considered

core)

◦ Sections 8-10

Sound Recording-Specific Issues in

RDA Organized by ―core elements‖

Library of Congress Policy Statements (LCPS) also name ―core‖ elements not named as such in RDA itself

Section 1: Manifestation/Item

◦ Title (Only title proper considered core) (2.3) Source is ―label bearing a title that is permanently printed on or affixed

to the resource,‖ same as AACR2 (2.2.2.4)

◦ Statement of responsibility (2.4)

◦ Edition statement (2.5)

◦ Publication, distribution, manufacture statement (Place, name and date in each) (2.8-10)

◦ Phonogram date if date of publication or distribution not identified (LCPS states to always give it) (2.11)

◦ Note: under AACR2, any date OUTSIDE of phonogram is considered conjectural for sound recordings, including copyright (©) dates.

Section 1: Manifestation/Item (ctd.)

Series statement (2.12)

Identifier (2.15) (e.g., ISBN, publisher number, UPC, EAN codes)

Describing carriers (3)◦ Media type (3.2)

◦ 3.2.1.3—audio

◦ Carrier type (3.3) 3.3.1.3 lists six audio carriers: audio cartridge, audio cylinder,

audio disc, audio roll, audiocassette, audiotape reel, sound-track reel (but, a streaming audio resource would be on a ―computer carrier‖ as an ―online resource‖)

◦ Extent (3.4) Basic instructions; how to record specifics include in

subsequent sections)

Section I: Manifestation/Item (ctd.)

Recording extent for AV—some relevant

guidelines (beyond ―core,‖ but these are

characteristics currently brought out in

AACR2)

◦ Dimensions (3.5)—everything recorded in cm.

(but, LCPS states to continue recording audio

and video discs in inches, so ―4 ¾ in.‖ still valid

here)

◦ Sound characteristics (3.16) (e.g., analog vs.

digital, playback channels, configuration)

Section 2: Work/Expression

(General Guidelines) Preferred title (6.2.2) (Core)

Identifiers

◦ Identifier for work (6.8)

◦ Identifier for expression (6.13) (note: based

on RDA examples, can’t tell the difference

between this and what’s listed in 6.8)

Section 2: Work/Expression

(Guidelines for Musical Works) Many similarities between these and what is found in

AACR2 Chapter 25.25-35

Title of the work (6.14)

Medium of performance (6.15)

Numeric designation of a work (6.16)

Key (6.17)

Other distinguishing characteristic of the expression of

a musical work (6.18)

Major change from AACR2: spelling out of formerly

abbreviated terms (e.g., spelling out ―arranged‖ instead

of using ―arr.‖)

Section 2: Work/Expression (ctd.)

Content type for sound recordings (6.9)

◦ Performed music

◦ Sounds

◦ Spoken word

Section 2: Work/Expression (ctd.)

Content (7) (Correlates to information

sound recordings catalogers are routinely

adding under AACR2); some are core,

some are not

◦ Place and date of capture—not core (7.11)

(518 field)

◦ Language of the content—core per LCPS

(7.12) (546 field)

◦ Sound content—not core (7.18) (300 $b)

Section 2: Work/Expression (Ctd.)

◦ Medium of performance for musical

content—core per LCPS (7.21)

◦ Duration—core per LCPS (7.22)

This is what currently goes in 300 $a (e.g., 30 min.)

◦ Performer, narrator, presenter—not core

(7.23) (511 field)

Section 3: Person, Family, Corporate

Body Heading construction

Won’t cover here; very similar to AACR2)

(8-11)

Section 5: Primary Relationships

among FRBR elements Primary relationships among FRBR

elements (standard numbers and

authorized access points) (17)

◦ At minimum, record the work manifested

◦ If more than one work is embodied in the

manifestation, only the predominant or first-

named work manifested is required

◦ If more than one expression is embodied in

the manifestation, only the predominant or

first-named expression manifested is required

Section 6: Persons, Families and

Corporate Bodies Relationship between the resource and

persons, families, and corporate bodies

associated with resource

Equivalent of $4 relator codes at the end

of 7xx fields in MARC ($e used instead)

Examples:

◦ $e singer ($4 voc)

◦ $e instrumentalist ($4 itr)

◦ $e conductor ($4 cnd)

Review: FRBR Elements and RDA

Section 1: Manifestation & Item

◦ 1: General Guidelines

◦ 2: Identifying Manifestations & Items

◦ 3: Describing Carriers

◦ 4: Acquisition & Access (Won’t discuss)

Section 2: Work & Expression

◦ 5: General Guidelines

◦ 6: Identifying Works & Expressions

◦ 7: Describing Content

Cataloging Under AACR2:

Example #1

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Example #1: Identifier

Core Element—In this case, a UPC number (024) and sound

recording issue number (028) (2.15)

Example #1: Title, Statement of

Responsbility, New 3xx Fields

Core Elements

•Title (Source is disc label/surface) (2.3/2.2.2.4 (Other resources—sound

recordings listed here)

•GMD replaced by:

•336 performed music $2 rdacontent (6.9)

•337 audio $2 rdamedia (3.2)

•338 audio disc $2 rdacarrier (3.3)

•Statement of Responsibility (2.4)

•Very basic instructions; examples here given as in AACR2 (e.g.,

composers, principal performers, performing groups)

•References 7.23, which is for giving access to ―performers of music

whose performance is confined to performance, execution or

interpretation‖ (these performers given in a 511 field)

Example #1: Publisher/Distributor;

Extent

Core Elements

•Publisher/Distributor/Manufacturer/Copyright (2.8-11)

•Extent—use ―audio disc‖ (3.4.13); duration (if readily ascertained)(7.22);

sound characteristic, including type of recording and configuration of playback channels

(3.16); give ―CD audio‖ (other specifications optional) (3.19.3);dimensions per 3.5 (―in.‖

still allowed per LCPS)

•Under RDA, look like:

260 [Longmeadow, Mass.]: $b Playscape Records, $c [2007], phonogram 2007.

300 1 audio disc : $b CD audio ; $c 4 3/4 in.

Notes—Section 1: Manifestation/Item; and, Section 2: Work/Expression

elements are intermingled throughout these fields;

phonogram symbol cannot be reproduced in second ―2007‖

Needs publication date

“in.” still okChange to “audio”

Example #1: AACR2 Notes vs.

RDA Work/Expression Elements

Not all are core in RDA, but consistently given as notes in AACR2

•500—Medium of performance for musical content (core per LCPS) (7.21)

•511—Performers (not core) (7.23)

•500—No longer necessary

•505—Contents note (falls under ―Related works‖ section; core per

LCPS) (25.1)

Example #1: Heading Construction

and Relationships

In RDA:

•Section 3 describes how to construct headings

•Section 6 describes how to record relationships, similar to $4 relator codes in MARC

•Called relationship designators in RDA (see Chapter 18, and then Appendix

I for codes):

100 1 Selvaggio, Bobby, $e instrumentalist

~~

700 1 Werner, Kenny, $e instrumentalist

700 1 Tynan, Paul, $d 1975-, $e instrumentalist

700 1 Street, Ben, $e instrumentalist

700 1 Perko, Matt, $e instrumentalist

700 1 Haddad, Jamey, $e instrumentalist

Designators divided among FRBR elements in Appendix 1 (Work,

Expression, Manifestation, Item)

Cataloging Under AACR2:

Example #2

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Cataloging under RDA: Example #2

Identifier (Issue number)

(2.15)

300 1 audio disc : $b digital ; $c 4 3/4 in.

336 performed music $2 rdacontent

337 audio $2 rdamedia

338 audio disc $2 rdacarrier

*See below

Cataloging under RDA: Example #2

(Ctd.)

•500—Medium of performance (7.21)

•511—Performing group (7.23)

•518—Place and date of capture (7.11) (example in RDA shows date-month-

year style (e.g., 2002 September 13)—not applicable here)

•500—No longer necessary

•505—Contents note (25.1)

Cataloging under RDA: Example #2

(Ctd.)

How relationships would look in RDA (per Ch.18 & Appendix I):

110 2 Roseau-Quintett, $e performer (wind quintet minus saxophone)

~~

700 1 Londeix, Jean-Marie, $d 1932-, $e instrumentalist (additional sax player)

700 1 Jones, Mason, $e arranger

700 1 Stewart, Don, $d 1935-, $e arranger

Note—Performers associated with expressions; arrangers treated associated

with works (distinction not particularly intuitive, but this is how they appear in

Appendix I)

Cataloging under RDA: Example #2

(Ctd.)

Access to Musical Works—subfields used here:

•$t – Preferred title for the work (6.2.2)

•$k – Other distinguishing characteristic of the expression (Selected part or

excerpts) (6.12.1.4)

•$m – Medium of performance (6.15)

•$o – Other distinguishing characteristic of the expression of a musical work

(Arrangements, transcriptions, etc.) (6.18.1.4)—note: ―arr.‖ is no longer a valid

abbreviation for headings; spell out ―arranged‖ in every case.

Cataloging under RDA: Example #2

(Ctd.)

Preferred (i.e., uniform) titles would now look like this:

700 12 Ravel, Maurice, $d 1875-1937. $t Tombeau de Couperin. $k Selections;

$o arranged

700 12 Milhaud, Darius, $d 1892-1974. $t Scaramouche; $o arranged

700 12 Eychenne, Marc, $d 1933- $t Sextet, $m winds (notice no change)

700 12 Tomasi, Henri, $d 1901-1971. $t Danses profanes et sacrées; $o

arranged

Full RDA Cataloging: SLIS Test

Relationships given per Chapter 18 &

Appendix I

Term “audio disc” given per 3.4;

Content (6.9), Media (3.2),

Carrier (3.3) Types (dimensions can

still be 4 ¾ in. per LCPS)

Full RDA Cataloging: SLIS Test (Ctd.)

Notes roughly given in order found in RDA (e.g., Section 1:

Manifestation/Item notes given before Section 2:

Work/Expression notes); but, I put 511 second because I was pointed

there in 2.3

(2.20.2) (7.23)

(2.20.7-10)

(25.1)(3.22)

Unresolved Issues

MARC tagging coincides well with AACR2

rules

In RDA, nothing maps out well to MARC;

guidelines pertain to elements currently

entered throughout the entire

bibliographic record

FRBR elements do not yet map well to

MARC

More standardization is needed

RDA in OCLC: Example #1

Achieved by doing a basic search in OCLC:

dx:rda cs=dlc mt:cds

RDA in OCLC: Example #2

RDA in OCLC: Example #3

QUESTIONS?

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Thank you!

Peter H. Lisius

Music and Media Catalog Librarian/Assistant Professor

Kent State University Libraries

P.O. Box 5190

(330) 672-6316 (Office)

plisius@kent.edu

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